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About Google Book Search Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at |http: //books .google .com/I TRANSf-ERnEO TO FINE ARTS UBR4BK ^^'^.. „r-- fSfc- »» /irr /<(S'2..2'?- '^ ► Sarbarti College ILtbratQ FROM THE FUND BEQ^UEATHED CHARLES SUMNER {CliiMofi830) SENATOR FROM MASSACHUSETTS "For books relatiog to Politics and Fine Arts" ^- TIN ENAMELLED POTTERY Maiouca Tnx Panel (35 laches in heiKbi). Yellow, Blue. Green and Ochrequs Red. taena (?), IlnlJ'. Seventeenth Century ART PRIMER PENNSYLVANIA MUSEUM AND SCHOOL OF INDUSTRIAL ART, PHILADELPHIA f- TIN ENAMELLED POTTERY MAIOLICA, DELFT AND OTHER STANNIFEROUS FAIENCE EDWIN ATLEE BARBEi^A.M, PH.D. "Curator /' DOUBLEDAY, PAGE & COMPANY 1907 1^( DEC 12 1919 coptrioht. 1906, 1007, bt Thb Pbnnstlvania Musbuk AND School of Industrial Abt Philadblphia. Pa. ^ All riohts rbsbrvbd, including that op translation into forbign lanquagbs. including thb Scanoinatum NOTE TBB riGURBS UNDBS THB HALP-TONB ILLUSTRATIONS, TO THB LBTT.ARB THB NUMBBR8 IN TBB PbNNSYLVANIA MUSBUM AND School of Industrial Art Philadblphia, Pa. PREFATORY. The Art Primers of the Pennsylvania Museum and School of In- dustrial Art are designed to furnish, in a condensed form, for the use of collectors, students and artisans, the most reliable information, based on the latest discoveries relating to the various industrial arts. Each monograph, complete in itself, contains a historical sketch, a review of processes, descriptions of characteristic examples of the best produc- tions, and all available data that will serve to facilitate the identification of specimens. In other words, these booklets are intended to serve as authoritative and permanent reference works on the various subjects treated. The illustrations employed, imless otherwise stated, are re- productions of examples in the Pennsylvania Museimi collections. In these reviews of the several branches of ceramics the geographical arrangement used by other writers has given place to the natural or technical classification, to permit the grouping together of similar wares of all countries and times, whereby pottery, or opaque ware, is classified according to glaze^ its most distinctive feature, while porcelain, or translu- cent ware, is grouped according to body or paste. In preparing the material for Tin Enamelled Pottery , the author has consulted the principal authorities on the various branches of the sub- ject, but he is particularly indebted, for many of the facts presented, to the South Kensington Handbook on Maiolica, by T. Drury E. Fortnum; Europaischen Fayencen, by Dr. Justus Brinckmann; EngUsk Earthen- ware and Stoneware, by William Burton; French Faience, by M. L. Solon; Histdre des Faiences Patri4)tiques sous La Revolution, by M. Champfleury; Dictionnaire de la Ceramique, by Edouard Gamier; Dutch Pottery and Porcelain, by W. Pitcaun Knowles; Hispatuh Moresque Ware of the Fifteenth Century, by A. van de Put; Old English Pottery, Named, Dated and Inscribed, by John Eliot Hodgkin and Edith Hodgkin, and Histoire Generate de la Faience Ancienne, by Ris Paquot. The matter relating to Talavera ware and the recently discovered Mexican or Puebla maiolica appears here for the first time. E. A. B. y CONTENTS PAGB Characteristics 5 Origin 5 I. Maiouca of Italy, Spain and Mexico • . • • 6 Processes 6 Fonns of Malolica 6 Styles of Decoration 7 n. Delft of Holland and England 17 III. Stanniferous Faience ot Other European Countries • 23 Styles of Decoration 24 Masks on Tin Enamelled Ware 37 Index 49 / ILLUSTRATIONS ^Maiolica tile panel. Faenza (?), Italy, Seventeenth Century Frontispiece APTBR PAGB ^1, Maiolica albareUo. CafFagiolo, Italy, Seventeenth Cen- tury 8 •r2. Maiolica albarello.^ Faenza, Italy, Seventeenth Century 8 ^^, Maiolica benitier. Faenza, Italy, Seventeenth Century. 8 1^4. Maiolica scodella. Urbino, Italy, Eighteenth Century. 10 ^5. Maiolica dish. Genoa, Italy, Eighteenth Century . . 10 \r 6. Maiolica plate. Castelli, Italy, Eighteenth Century . 10 •-7. Maiolica tureen. Nove, Italy, Eighteenth Century. . lo 1/^8. Hispano-Moresque plaque and drug jar. Valencia, Spain, Sixteenth Century 12 ^g, Maiolica tazza. Talavera, Spain, Eighteenth Century. 12 *ao. Maiolica bowl. Puebla, Mexico, about 1700 ... 14 1^1 1. Maiolica vase. Puebla, Mexico, Eighteenth Century . 14 •a2, 13. Maiolica drug jars, or albarelli. Puebla, Mexico, about 1730 16 «^I4, 1$. Maiolica salt cellars 16 «^i6. Maiolica benitier, or holy water stoup. Puebla, Mexico, 1800-1840 18 »^i7. Delft dish. By Justus Brouwer, Holland, about 1759.. 18 v^i8. Delft cheese dish and tray. By P. van der Stroom, Hol- land, Late Seventeenth Century 18 'TiQ, 20. Delft lobed dishes. Delft, Holland, Eighteenth Century 18 ^21. Delft plaque. By W. van der Does, Holland, about 1 764 18 y 22. Delft Wine jug. Probably by Lowys Fictoor. Delft, Holland, about 1690 18 ^^23. Delft dish. By Hartog van Laun, Amsterdam, about 1780. . 18 •^ 24. Delft box, lozenge shape. By Justus de Berg, Holland, about 1759 18 ^ 25. Delft box hexagonal shape. By Lowys Fictoor, Holland, about 1689 18 1^26. Delft plate. Lambeth, England, 17 16 20 / 27. Delft caudle. Urn. Lambeth, England, 1678 ... 20 APTBR PAOB "^28. Delft bowl. Bristol, England, about 1760 .... 20 "^29. Delft plate. Bristol, England, about 1760 .... 20 ^ 30. Delft puzzle jug. Liverpool, England, Early Eighteenth Century 22 ^31. Posset pot. Bristol (?), England, Early Eighteenth Century 22 •^32. Delft tiles. Liverpool, England, about 1760. ... 22 *^33> 34* Tin enamelled plates. School of Nevers, France, 1789-1792 24 *'35} 3^- ^^^ enamelled plates. Marseilles, France, Eighteenth Century. By Veuve Perrin. School of Rouen, France, Eighteenth Century 24 •^37. Tin enamelled mug. Rouen, France, Early Eighteenth Century 26 "^3^9 39> Tin enamelled platters. Strasbourg, France. School 40. of Rouen, France 26 ^41. Tin enamelled dish, Moustiers, France, 1735-1745 - 26 "^42. Tin enamelled tureen. Strasbourg, Rouen, and Moustiers, France; Eighteenth Century .... 2ft ^43. Tin enamelled tureen. Marseilles, France, Eighteenth Century 28 ^^44. Tin enamelled vases. Sceaux, France 28 "^45. Tin enamelled plate. Kellinghusen, Germany, Eigh- teenth Century 30 ^46. Tin enamelled mug. Bayreuth, Germany, Eighteenth Century 30 '^47. Tin enamelled wine jug. Germany, Eighteenth Century 30 ^^48. Tin enamelled vase. Stralsund, Sweden, Eighteenth Century 32 *^49. Tin enamelled plate. Stockholm, Sweden, 1759. . . 32 ^^50, 51. Tin enamelled boxes. Marieburg, Sweden, Eighteenth Century 32 ^^52. Tin enamelled platter. Marieburg, Sweden, Eighteenth Century 32 53. Tin enamelled cream jug. Kiel, Denmark, 1765 . . 34 ^54. Tin enamelled jug. Luxembourg, Belgium about 1780. 34 '^55. Tin enamelled tureen. Luxembourg, Belgiiun, Eigh- teenth Century 34 ^56, 57. Tin enamelled plates. Holitsch, Hungary, Eighteenth Century 34 TIN ENAMELLED POTTERY X^TIN ENAMELLED POTTERY. CHARACTERISTICS. Tin Enamelled Pottery, known also as Stanniferous Faience (from stannumy the Latin word for tin), is a coarse, more or less porous, ware covered vnth a heavy, opaque, putty-like white enamel, resembling in appearance thick white lead paint, which, as a rule, shows on the under sides of pieces, or the backs of plates, in ridges or drops where its flow has ceased. The word enamdy as here used, signifies an opaque coat- ing on the ware, as distinguished from glaze, which is transparent or translucent. True maiolica and delft wares are enamelled, ordinary pottery, such as modem red or brown kitchen ware, is glazed. Tin enamel is a composition of glass and oxide of lead, to which has been added a certain portion of oxide of tin. The latter ingredient produces the white, opaque effect; hence the name, stanniferous enamel, ?^ORIGIN, It is not known exactly when and where tin was first used in the glaz- ing of earthenware. y^It is a well established fact that the bricks of Baby- Ionia and Assyria were coated with a white stanniferous enamel many centuries before the appearance of maiolica in Italy. At a later period tin enamel was in use by the Arabs, and early in the foiuteenth century this method of glazing was extensively employed by the Moorish potters of Spain. It was not until the fifteenth century, however, that the so- called Hispano-Moresque wares of Malaga and Valencia, and the maiolica of the Italian potters began to be produced in abundance. For convenience of study we may divide Tin Enamelled Pottery into three groups, as follows: I. Maiolica of Italy, Spain and Mexico, II. Delft of Holland and England. III. Stanniferous Faience of Other Countries. 6 I. MAIOLICA. The word Majolica, or Maiolica, is derived from Majorca, the name of the island where the ware is supposed to have originated. At first the term was restricted to tin-enamelled wares decorated with metallic lustres, but later it was applied to all stanniferous faience of Italy and Spain. The earliest example of tin-enamelled ware of Italian woric- manship that is known was executed by Luca della Robbia in 1438. Throughout the fifteenth, sixteenth, seventeenth and eighteenth cen- turies maiolica continued to be produced extensively in these countries. PROCESSES. Maiolica ware was subjected to two firings. The body itself was first baked. Then the biscuit was dipped in the liquid enamel preparation, and after this was allowed to dry the decorations were painted on the absorbent surface. The ware was then dipped in a bath of transparent glaze which served to protect the decoration and ^ve it greater brilliancy. This thin film was called by the Italian potters coperta or martacoUo. It was composed of sand, potash and oxide of lead. The ware was then subjected to a second firing, which liquefied the enamel and fixed the painted colours. On the other hand, some of the stanniferous faience of other European coimtries was fired three times, first the ware itself, then the enamel, and finally the decorations, as in the later productions of France and Germany. FORMS OF MAIOLICA VESSELS. Among the numerous shapes of maiolica vessels are many characteris- tic forms, which are known by specific names: Albarello, a drug jar of cylindrical shape, with straight or slightly concave sides. Bacile, a deep, bowl-shaped dish. Bacino, a dish or basin used as an architectural ornament, built in the walls of old churches or other edifices. Canestrella, a fruit dish, moulded and usually having a pierced or openwork rim. Dlsc, a flat, circular tile for insertion in the walls of buildings. Ongarescha, a cup or bowl, mounted on a low foot. Pilgrim's Bottle, a bottle-shaped vase or flask with flattened front and back, usually having modelled handles. Saliera, a salt cellar. ScoDELLA OR ScuDELLA, a bowl with short stem and foot. Scodella da donna di parto, a set of vessels made to fit together in the form of a vase or urn, consisting of the scodella^ or broth bowl, on which is placed the tagliere or plate for bread, which serves as a lid; on this the ongaresche or drinking cup, inverted, is surmounted by a covered saUera, or salt cellar. These sets were used by ladies during confinement, but only separate pieces are now found in collections. Tazza, same as Scudella. Tagliere, a shallow plate. Tondino, a plate with broad rim or marly and deep centre or cavetto. Vase, an amphora-shaped vessel of decorative form, usually with two twisted, convolute or serpentine handles, sometimes modelled in the forms of heads, himian figures, cupids, animals, etc. Vaso di Spezieria, a pharmacy vase or electuary pot, with handle and spout. Vaso senza bocca (a vessel without a mouth), a jug with closed top and an opening at the bottom through which it was filled. When placed upright the contents could be poured out of the spout. STYLES OF DECORATION. Among the characteristic styles of decoration employed by the maiolica painters, particularly as border designs, are the following: Berettino. Designs reserved in white, heightened with brownish yellow on a darker ground. Candeuere or Candelliere. Grotesque figures of animals and men synunetrically arranged on either side of, or about, a central stem. Frequently seen in Castel Durante and Urbino wares. Cerquate. Patterns composed of oak leaves and acorns, usually in yellow on a blue ground, encircling a central design. Found on many productions of Castel Durante and other fabrics. FlORi. Combinations of flowers and birds. FoGLiE. Designs consisting entirely of leaves. Frutti. Combinations of fruits and leaves. Grotesche. Combinations of grotesque figures of men, women and animals, with foliated extremities, etc. Istoriato. Subject painting, historical, mythological, biblical, etc. 8 us style of decoration usuaUy covers the entire sarfatce and b especially characteristic of Urbino and Faenxa wares. Paesi. Landscapes and building^. QuARTiERE. Divided into equal compartments, dther radiating from the centre, as on plates, or in vertical paneb, as on vases and drug jars. Rabesghe. Arabesque patterns. SoPRA AZZURO. Designs reserved in pale gray, heightened with white, on a dark blue groimd. SoPBA BIANCO (oK BIANCO SOPRA BIANCO). White dcsigus painted on a white or slightiy tinted ground. TiRATA. Interlaced ribbons, or strapwork. Tkofei. Designs in which trophies of arms, musical instruments, tools, etc., are prominent motives. Particulariy characteristic of the Urbino wares. ITALY. The attribution of maiolica wares is frequentiy a matter of consider- able difficulty, owing to the great similarity in colouring and decorative work of different localities, and the absence or scarcity in collections of signed or marked examples by which other pieces can be identified. Many of the best potters and artists carried the art from one place to another, and introduced the same methods and styles of decorative treatment at widely separated points. There are, however, some well- marked characteristics which distinguish particular products, that enable the expert to assign the latter to their proper sources with a tol- erable degree of certainty. The principal seats of maiolica production in Italy were as follows: — FAENZA. The town of Faenza was one of the earliest centres of the manu- facture of maiolica in Italy. Enamelled pottery was made here in the latter part of the fifteenth century, and continued to be produced down to recent times. Characteristics: Wide borders, with grotesques and figures, painted a bereUinOf or sopra azzuro. A large niunber of drug vases and electuary pots were made here. The predominating colours are yellow, dark blue and a peculiar red used in draperies, called ^^vergUioUOy^ similar to the ochreous red employed by the Urbino potters. The albarelli are usually jiches in hnsM). igiolo, ItaJy, SevenleH iDcha in height). S. Maiouca B ENl [TIES (17) indiB in height). Green. Blut, Gr. rsy and Ochmus Red. Fkbh, Jt^ 'Ij. Sevc i««nlh Ch «uiy. 9 decorated in compartments or panels (a quartiere), frequently bearing on one side a profile head and often the name of a drug in Gothic letter- ing. Scriptural subjects were often painted on the Faenza wares. Frequently the letters S. P. Q. R.* appear in the decorations. Some writers assert that the word faience is derived from the name of this town. An albarello, in the Museum collection, in blue, orange and pale copper green, may be attributed to Faenza (see No. 2). The decorations consist of coarsely painted leaves and flowers, and on the front the head of a man. An unusual example of Faentine maiolica in the Museum collection is a benitier, seventeen and a half inches in height, representing a her- mitage. On one side is the figure of a monk, and on the other a crucifix (see No. 3). The colours are a brownish orange, green, blue and greenish gray. The illustration facing the title page shows a large tile panel in the Museum collection. CASTEL DXJRANTE. Castel Durante was also one of the oldest centres of maiolica manu- facture. The earliest dated examples belong to the beginning of the sixteenth century. The best period was from 1508 to 1580. Characteristics: A pale buff-coloured paste; paintings of grotesques, scrolls, leaves, trophies, musical instruments and cupids or ^^amorini." Plates with subject scenes are frequently edged with yellow lines. The carnations in the decorations are usually of an olive green, while the peculiar red of the Urbino palette is absent. Pharmacy jars, vases and bottles were extensively produced. URBINO. The city of Urbino was justly celebrated in the sixteenth century for the beauty of its maiolica wares. Among its products were well-executed vases, pilgrim bottles and drug pots, often possessing serpent handles and mask spouts. The large plaques or bacili are frequently painted with biblical subjects, scenes from Roman history, games of children, etc., in the istoriato style, in which a large number of figures usually appear. Characteristics: Urbino pieces are frequently edged with a heavy * Senatus Poptdusque Romanus, The Senate and the Roman People. 10 yellow line. An ochreous red or reddish orange colour in the decorations is a striking feature of this ware. The letters S. P. Q. R.* occur occa- sionally on Urbino maiolica. A scodella, or shallow bowl on a low foot, which may be attributed to Urbino, bears a painting, in the istariato style, in ochreous red or orange, blue, green and black, representing Hercules and Cacus (see No. 4). GUBBIO. The town of Gubbio was noted in the sixteenth century for its manu- facture of enamelled pottery. The best works are believed to have been executed by Giorgio Andreoli, a celebrated modeller and potter, later known as Maestro Giorgio. The Gubbio productions are distinguished by their beautiful metallic lustre colours, opalescent, golden, and par- ticularly a rich ruby red, which latter is so characteristic and distinct that it is usually called the Gubbio lustre. The iridescent colours are variously known to the Italians as cangiante (changing), madreperla (mother-of-pearl), a reverbero (reflecting) and rubino (ruby). The predominating characteristics of Maestro Giorgio's decorations are masks, trophies and foliated scrolls, terminating in the heads of men ^nd animals, eagles and dolphins. His most beautiful works were produced during the first quarter of the sixteenth century. The Gubbio lustres have recently been reproduced at that place. CAFFAGIOLO. The maiolica of Caffagiolo in Tuscany possesses marked characteris- tics. Dated examples of the early part of the sixtenth century are known, while some of the imdated pieces are of earlier manufacture. A dark cobalt blue was frequently used as a ground colour, which was usually laid on with a coarse brush, showing distinctly the separate strokes, pro- ducing a peculiar mottled effect. Other characteristic colours are a light copper green and a bright orange yellow. Metallic lustres were seldom employed. An albarello, or drug jar with concave sides, painted in dark mottled blue, yellow and light green, is in the Museum collection (see No. i). On the front is the figure of a man, while a tablet among the ornaments on the reverse side bears the letters S. P. Q. D. and the * SeruUus Populusque Romanus, The Senate and the Roman People. [slotiato Style; "Hercuir Blue. Green. Black and i Urbino. Italy, Eighlwi li, Italy. EighlePnIh Ceniui 11 date 1617. The letters S. P. Q. F.* are also frequently found on pieces of Caffagiolo ware. SAVONA. At Savona a good quality of maiolica was manufactured in the seven- teenth and eighteenth centuries. The decorations are usually in a rather pale but clear blue. The pieces are thin, frequently with scalloped edges. A plate covered with heavy, dark green enamel, decorated with a stork in black, owned by a Hartford, Connecticut, collector, bears on the back the shield mark or arms of the town. A plate in the TrumbuU- Prime collection, at Princeton University, is painted with a figure scene in blue camaieu. GENOA. Maiolica was produced here in the eighteenth century. The character of the ware is very similar to that of Savona, situated some twenty-three miles distant, being distinguished by a bluish white enamel and subject paintings in blue. Authorities have differed as to the attribution of the '' tower and beacon " mark which is found on pieces of this ware. Pres- ent writers seem to agree that this was one of the marks used at Genoa. A fine dish in the Museum collection, with irregular, scalloped edge, bearing this mark, is decorated with a figure scene representing a lady in a chariot drawn by swans and accompanied by flying cupids, or amorini, painted in blue camaieu (see No. 5). PESARO. Dated examples of Pesaro maiolica go back to the first half of the sixteenth century. It was often decorated with mother-of-pearl (mad' reperla) lustre and shows the influence of the Persian potters. The best period was from about 1500 to 1560. DIRUTA. The maiolica of Diruta seems to be an imitation of the Gubbio or Pesaro wares. A characteristic of the Diruta products is the metallic lustre which frequently enriches them, particularly madreperla and a dull ruby resembling the lustres of Gubbio. The large circular dishes are usually provided with a low foot or base, perforated with two holes for suspension. * SemUus Populusque Fhrentinus, The Senate and People of Florence. 12 CASTELU. At Castelli, near Naples, maiolica was made in the fifteenth and six- teenth centuries, but no examples of that early period have been iden- tified. In the seventeenth and eighteenth centuries the manufacture was continued, and during the latter, large quantities of articles were produced, which may generally be recognised by their shapes and decorations. Flat, shallow plates with narrow rims, and tall, conical- shaped drinking cups, generaUy without handles, are particularly char- acteristic. The decorations are usually landscapes or figure scenes, mythological and scriptural, well painted in harmonious colours, in which the yellows and blues are most conspicuous, being frequently touched with gold. Niunerous pieces of this character may be seen in the Museum collections (see No. 6). NOVE. At Nove, near Bassano, a pottery was established about 1728 by Giovanni Battista Antonibon, for the manufacture of faience. This ware was produced, with some interruptions, throughout the eighteenth and nineteenth centuries. In recent years imitations of Nove ware have been made in the neighbourhood of Venice and extensively sold as old specimens. In the Boston Museum of Fine Arts is a ewer-shaped tureen belonging to the middle of the eighteenth century, and bearing the mark of a comet in blue beneath the glaze. This example is elaborately decorated with modelled flowers in relief, and with bouquets of flowers carefully painted in polychrome, the ground of the tin enamel being of a pale green tint (No. 7). From 1752 until 1835, porcelain was made at Nove in addition to faience. MEZZA-MAIOLICA. This term was applied to the early, coarse earthenware of Italy, re- sembling maiolica in appearance, but covered with a white slip on which the designs were painted and then coated with a lead glaze, and some- times lustred. Many of these pieces are ascribed to Diruta. Tin enamel was not used on this class of ware. 13 SPAIN. MALAGA. Malaga is believed to have been the earliest seat of the manufacture of lustred faience in Spain. Hispano-Moresque pottery was made here in the fourteenth, fifteenth and early sixteenth centuries. The principal characteristics are beautiful yellow lustre and dark blue decorations in highly conventionalised animal and plant forms, arabesques and strap- work on a white tin-enamelled ground. The celebrated Alhambra vase, believed to have been made about the middle of the fourteenth century, is attributed by the best authorities to Malaga. VALENCIA. Valencia was the most important seat of maiolica manufacture in Spain during the fifteenth and sixteenth centuries. The principal characteristics are mock Arabic inscriptions and more or less natural renderings of animal and plant forms, such as vine leaves, bryony foliage, animak and birds in golden lustre and dark blue on a cream ground (see No. 8). Much of the ware is of a heraldic character. The eagle frequently appears as a decorative motive, sometimes on the front and occasionally on the backs of plates and plaques. The later productions are inferior in decoration and possess a reddish or coppery lustre. Under the name of Valencia ware was that produced in the neighbouring towns of Gesarte, Manises, Mislata and Patema. TALAVERA. Another important site of the pottery industry was at Talavera-la- Reyna, Spain. Some writers believe that faience was made here as early as the sixteenth century, and Brongniart regards Talavera as the true centre of the manufacture of Spanish pottery. Jacqucmart states that the decorations and forms were of great variety and excellence; well-painted ornaments, masks, scrolls, flowers, landscape and figure subjects have been found on this ware. Gamier, in his Dictionnaire de la Ceramique, asserts that this locality, in the vicinity of Toledo, was so renowned for its faience in the seven- teenth and eighteenth centuries that the name ''Talavera" came to be commonly applied to pottery in Spain, just as the word "Delft" is used in England to indicate stanniferous faience. He further states that 14 M. Casati, who wrote an account of the faience of Talavera, asserts that this ware is distinguished by a greenish tint of the enamel approach- ing the green colour of water. The ware presents a certain resemblance to some of the Italian maiolica, particularly to that of Savona, and of Delft and some of it in polychrome decoration bears a resemblance to the faience of Moustiers. Talavera being in the interior of Spain, its pottery shows less of Moorish influence than that of Malaga or Valencia on the Mediterranean coast. In the seventeenth and eighteenth centuries considerable quantities of Talavera ware were taken by the Spaniards to Mexico, where in recent years many fine examples have been brought to light by collectors. A good example of Talavera ware with polychrome decoration, the gift of Mrs. John Harrison, may be seen in No. 9. Another fine piece, sim- ilarly decorated, is a circular bowl, eleven and a half inches in diameter and six inches deep, with central figure of a lion in purple. The pre- dominating colours used in these pieces are brownish-yellow, pale green and light brown. PORTUGAL. Maiolica was made in Portugal from the sixteenth century down to recent times. While little is known of the products of the old potteries of this country, it is stated by several authors that drug pots, vases and pieces belonging to table services, with blue decorations, were made there to a considerable extent. The "Fabrica de Sto. Antonio" of Porto sent to the Centennial Ex- hibition in 1876 some well-modelled maiolica figures in white enamel, three of which are now in this Museimi. They represent Jupiter, St. John and Penelope, and are about three feet in height. MEXICO. Pottery of various kinds has been made at Puebla, Mexico, almost continuously since the Conquest. Many pieces of stanniferous faience have been found in Mexico which have come to be known as Talavera ware. It is stated, on what seems to be good authority, that workmen were brought from Talavera, Spain, by the Dominican Friars, who settled in Mexico soon after the year 1600 and established potteries at Puebla. These Toledan potters initiated the natives into the mysteries i ill Pi \i 1 i-'i f 15 of the manufacture. For two centuries this industry thrived, and at one time more than a score of potteries were in operation in Puebla. In the first quarter of the nineteenth century, however, the art began to decline, and at the present time nothing is being made in Mexico but imitations of the old maiolica and ordinary wares. The best of the reproductions are made by Senor Enrico Ventosa, of Puebla, which are marked with his monogram. This artist is reviving the best styles of the old maiolica, with the same materials and by the use of the original processes. The shapes of the earlier pieces attributed to Mexico are varied, some of them being copies of the old Spanish or Italian forms, such as cylin- drical drug jars or aJbareUiy basins, etc., while other forms are more or less departures from the European. We have seen urn-like vases and large barrel-shaped vessels. The decorative work is generally crude, although some jar-shaped vases reveal a higher degree of artistic draw- ing in conventional designs, in the Chinese taste. The body of the pieces examined is composed of a coarse, sandy, buff-coloured or reddish clay, harder than that of Delft, covered with a hard, white tin enamel. Examples of Puebla ware, decorated in the Oriental manner, have been found in considerable abundance, giving rise to the supposition that they are the work of the Chinese. The theory has even been ad- vanced by certain Mexican antiquaries that Chinese potters were brought to Mexico from the Philippines, but it is more reasonable to suppose that these pieces are the productions of the later Spanish-Mexican potters, who, breaking away from the old traditions, imitated the Oriental wares which found their way into Mexico in considerable quantities in the seventeenth and eighteenth centuries, through the port of Acapulco. A large jar or vase of this character, in the Museum collections (see No. ii), effectually disposes of the theory of Chinese workmanship. En- circling the body are rudely painted human figures, male and female, with long queues. No Oriental artist would depict Chinese women with hair so arranged. In the eighteenth centuiy pseudo-Chinese decorations became very popular at the Puebla potteries. The maiolica which is found in abimdance in the vicinity of Puebla seems to be of two distinct varieties, one of which, and evidently the earlier, more strongly resembles the old Spanish and Chinese products in forms and colouring, while the other, of coarser texture and glaze and inferior decoration, reveals a distinct native Mexican feeling in treat- ment, particularly in the crude and gaudy colouring, the reds, yellows and greens often being vivid and harsh. The blue and yellow colours, 16 which predominate, have been applied thickly, and are perceptiblj raised above the white ground. While Mexico is rich in deposits of tin, the ore used until a com- paratively recent date, in glazing the ware, was probably brought from Spain, since these veins were not opened until a late period. At present the tin mines of Zacatecas, Guerrero, Jalisco, and Hidalgo are yielding abundance of ore of a superior quality, and an important tin mining industry is gradually being built up. The Museiun has recently come into possession of a most interesting collection of old Puebla ware. Tiles, from some of the early cemeteries, chiuches and other buildings, are coarsely decorated with dark blue designs, — conventionalised flowers, animals and human figures. One of these, bearing a representation of St. Michael, is painted in yellow and black in a solid raised blue ground. Others, with rude paintings of Chinamen in blue, were taken from an old house in Puebla which was erected in 1687, while several are from an Indian church at Tlazcalan- cinco, near Cholula, which dates back to 1789. There are also some decorated drug jars (see Nos. la and 13), and spherical vases in blue, salt cellars, and a curious little benitier or receptacle for holy water in colours, — green, yellow, brick red and brown (Nos. 14, 15 and x6). The most interesting example in the collection is a bowl, fifteen inches in diameter, of late seventeenth, or early eighteenth century workmanship (No. 10). The decorations, in raised blue enamel on a white ground, consist of animal and floral designs and mosque-shaped buildings, suggestive of Moorish influence. All of the pieces here shown are of Mexican manufacture, and belong to the seventeenth and eighteenth centuries. At Guanajuato, ordinary pottery is made, principally plates, with a yellowish glaze. At Oaxaca are more extensive manufactories, which produce wares having a lustrous white glaze composed largely of lead, and a variety with a beautiful green glaze, mainly objects for domestic use. Characteristics: Mexican maiolica is, as a rule, poorly potted, and has a pinker, harder and more gritty body than the Spanish. The enamel is less opaque and less evenly applied, frequently showing the tint of the body beneath and numerous pores or pin holes, which may be distinctly seen in the illustration of the fine vase. No. 11. The decora- tions are more crudely painted and the dark blue, which predominates, is less clear than that of the Spanish ware and stands out in pronounced id 31 [ncha in hciiht). 17 relief, as though it had been thickly mixed and heavily applied in coarse bold strokes. Other colours found on old Puebla ware are green, yellow, brick red and dark brown. The yellow and green have also, in many instances, been thickly laid on. Frequently the enamel presents the appearance of having a heavy coating of transparent, silicious glaze, which gives it a harder and niiore glassy appearance. These pecu- liarities make the attribution of the old Puebla maiolica a matter of considerable ease, since the genuine Spanish pottery of Talavera, which is still to be met with in Mexico, shows more careful workmanship, and the decorative colours, being thin, do not stand out in relief. The Mexi- can maiolica was not covered with a bath of lead glaze, or marzacoUOf as were the Italian tin-enamelled wares. The decorations were painted directly on the crude enamel, and became incorporated with it when fired in the kiln. ■» ■ II. DELFT. The word Delft is derived from the name of the town in Holland where the ware was first produced, and which for several centuries con- tinued to be the chief centre of the industry. Delft ware was probably made as early as the latter end of the fifteenth century, but little is known of it until about a hundred years later. From that time down to the present it has been manufactured at many establishments. The origin of this faience was the attempt of the Dutch potters to imitate the more costly porcelain which had been brought from the far East. At first the blue colour only was used, but later oth<^ coloiurs, green, red, yellow, brown, purple and gold, were added. The decorations were neither over nor under the enamel, but in it, the colours and enamel being liquefied and fixed at one firing. The decorative process may, therefore, be properly expressed by the term in^^ze painting. ' HOLLAND: The Delft ware of Holland, made in the town of Delft and several other places of lesser importance, is distinguished by a porous and friable body, light in weight and of a yellowish or pale brown colour, in which carbonate of lime enters largely, so that on the application of acid it effervesces. It is usually so soft that it has the appearance of having been fashioned from common mud, and can be easily cut with a knife. The thick enamel entirely covers the ware, and is found spread over the 18 under sides of plates, as well as on the upper surface. So perfectly was the enamel adapted to the body that crazing, or cracking of the surface, seldom occurred. Plates and other pieces were separated or supported in the kiln by three bars of fire clay, which in being detached usually left three equidistant, long, rough scars on the under side, where the enamel was torn away. This peculiarity is noticeable in a large pro- portion of the pieces made in Holland. While some of the Holland faience was decorated in polychrome, the blue colour predominates to a marked extent. ^4)eUt ware occurs in a great variety of forms — ^vases of various designs, often imitating Oriental shapes, frequently gracefully fluted, with covers surmounted by figures of animals; plates and plaques; ornamental figures; drug and tobacco jars; tea canisters; candlesticks; punch bowls; dishes of various forms; covered boxes; trays and utensils for table and household use. Frequently vases and jars were made in sets of three, five or seven, for the adornment of the mantel shelf or cabinet, in the Chinese manner. Some of the circular dishes are fluted or lobed, y like those produced at some of the German factories (see Nos. 19 and 20)^ )CyARIETIES OF DELFT FAIENCE.)/ Tin-enamelled tiles, in blue or purple monochrome, were among the earliest productions of the Dutch potters. These were embellished usually with scriptural subjects. ^Faience, with blue decorations in the enamel, mainly in the Oriental style, was produced extensively in the seventeenth and eighteenth centuries. Afterwards the decorations were in various colours and gold over the enamel, imitating Chinese porcelainJl^A wine jug of this style in the Museum collection, probably by L^wys Fictoor, is elaborately painted in red, green, black, brown, purplish blue and gold. It has a lobed body and plaited handle (see No. 22). Black enamelled Delft, with painted designs in polychrome, in imi- tation of Chinese lacquer, was produced at several potteries in the latter part of the seventeenth century and the beginning of the eighteenth, particularly by Lowys Fictoor, Augustein Reygensbergh and Lam- bertus van Eenhoorn. Examples of this variety are now rare. The best examples of Delft ware are faithful copies of Chinese and Japanese porcelains, which at a short distance can only with difficulty be distinguished from the Oriental. The enamel is particularly brilliant, T Dish («| ioCba in width). Pallmi. By Justus Brouwer. Holl.i Dish abp Trait (61 inchts in hcig P. ^-ui dcr S Eaily EighlMnlh Cenlury. 33. Delft Tiles (6 inch«). iDted in Black. Liv^rpooL England, a' Made by Zachariah Barne. 23 ^ STAFFORDSfflRE. The Delft ware produced in Staffordshire is coarser in body, glaze and decoration than that of other English varieties. The enamel possesses a yellowish hue. The backs or bottoms of pieces are usually coated with lead glaze instead of enamel, while the decorations, in blue, with dashes of green and yellow, are extremely crude. Most characteristic are the large circular dishes or plaques, with rudely drawn figures of royal personages, Adam and Eve and other biblical subjects, with trees roughly daubed on with a sponge. Delft was made at several places in Staffordshire from about 1680 until late in the following century. « BRISLINGTON. At Brislington, near Bristol, tin-enamelled pottery, of a hard, coarse, reddish body, was produced to a limited extent in the eighteenth century. It was embellished with blue designs and sometimes with crudely painted copper lustre ornamentation. The ware was of a cheap character and thinly coated with a coarse yellowish enamel. )\ WINCANTON. Delft ware was also made at Wincanton, in Somerset, to a limited extent for a few years previous to 1750, but little is known of the products of this unimportant factory. A few examples are in the British Museum. III. STANNIFEROUS FAIENCE OF OTHER EUROPEAN COUNTRIES. FRANCE. The earliest stanniferous faience produced in France in the sixteenth century was executed by Italian potters in imitation of the earlier maiolica, but gradually a national style was developed by the French potters who succeeded them. The stanniferous faience of France is distinguished by its soft, porous body, usually of a dirty cream or pale brown color, but is frequently a pronounced pink. The enamel is white or pinkish, occasionally tinted a bluish- or greenish-white. It covers both sides. The decorations at first were painted on the dry enamel before firing; later they were painted over the fired enamel. At several places gilding was used. 24 While the body and enamel of French faience closely resemble those of the Italian and Dutch potters, the decorative treatment is of an entirely different character. The paintings, as a rule, are more carefully exe- cuted, and, in the later products, include a wider range of colours, along which the reds, pinks and greens are conspicuous. The French faienciers never used a lead glaze (marzacotto of the Italian majolists) over the enamel. The principal forms of French faience are plates, platters, plateaux, tureens, pilgrim bottles, ewers, statuettes, trays, jardinieres, sugar sifters, barber's basins, clock cases, vases and various pieces of table services. styi.es of decoration. A marked tendency toward conventionalism is to be observed in much of the stanniferous faience of the French potters. Among the most pronounced styles of decoration are the following: Akmorial. Heraldic designs as a central decoration, with arab- esque or set border patterns. Broderie. The imitation of set embroidery or lace patterns, first practised at Rouen. Camaieu. Painted in a single colour outlined with a darker shade of the same. CoRNE. A pattern which originated at Rouen, in which the principal decorative motive is a cornucopia of brightly-coloured flowers. GiusAiLLE. Painted in various shades of gray. Italian. The imitation of old maiolica in design and colouring as seen in the early products of Nevers, Rouen, Lyons, Nimes and other French faience centres. Lambrequins. A conventionalised pattern suggested by the radiat- ing traceries and pendant ornamentation of a lambrequin, first used on some of the old Rouen faience. Monochrome. Decorated in a single uniform tone of colour. Partiotique. Trophies of arms, musical instruments, flags and inscriptions of a patriotic nature used as decorative motives at Nevers and other places during the Revolution of 1789. Peinture sur email cru. Painted on the dry enamel before the first firing; underglaze, or inglaze (first period). Peinture sur email curr. Painted on the baked ware; overglaze (second period). I Tin Enaiieiled Plates (10 inches). Mandlla, France, Eighteenth Cenlury. Polychrome DHOration. School ol Rouen, France. Eighleentb Ceotuiy, " Broderic " Sl^e. 25 Persian. White enamel decorations on a dark blue ground, after the Persian taste, as seen in some of the old Nevers ware. Polychrome. Painted in several colours. QuARTiERE. See RayonnanL Quiver. A style of decoration in which quivers of arrows form the principal motive. Often found on old Rouen faience. Eayonnant. Divided into sections or compartments radiating from the central design. Also called Quartiere. This style was em- ployed at Rouen before it was used at other places. Rocaille. Imitating rockwork, etc., by means of scrolls. Same as Rococo. The stanniferous faience of France may be classified as follows* 1. School of Nevers. j 2. School of Rouen. > First Period. 3. School of Moustiers. ) 4. School of Strasbourg. Second Period. FIRST PERIOD, Decorations painted on the unbaked enamel (Peinture sur EmaU Cfu), The three great faience manufacturing centres of this period in France were Nevers, Rouen and Moustiers. 1. NEVERS. Tin-enamelled faience was produced at Nevers, France, from the latter part of the sixteenth centxuy until about the end of the eighteenth, the earlier products being in imitation of the Italian maiolica. Work- men were brought from Italy to prosecute the work, but the marzacotto or lead glaze, so characteristic as an outer covering of the older maiolica, was not used here. The earliest products of this centre were painted with biblical, mythological and allegorical subjects in the style of the maiolica of Faenza and Urbino. The faience of Nevers is distinguished by comparative hardness of body and enamel. One of the most distinctive styles of decoration was what is termed the "Persian," consisting of designs painted in white enamel on a rich, deep blue ground. The same blue ground was used, with reserve panels in white containing polychrome paintings. Another variety was painted in blue on a white field, in the manner of the Hoi- 26 land Delft. About the beginning of the eighteenth century the figure paintings of Chinese porcelain were imitated to some extent. The colours were usually weak, and red does not seem to have been employed. The predominant colours were blue, yellow and manganese purple. Among the characteristic styles is what is known as the inscribed Faience Patriotique, or ''Speaking Pottery," produced during the Revolution of 1789. It is decorated with devices and inscriptions of a patriotic nature. Two pan-shaped dishes of this character, in the Museum collection, are here shown, the colours being blue, olive green, brown and yellow (see Nos. 33 and 34). At Auxerre, Dijon, Meillonas and La Forest the Nevers styles were imitated to some extent. 2. ROUEN. Tin-enamelled pottery is believed to have been made at Rouen in the sixteenth century, but not until about 1645 ^^ ^^ manufacture firmly established. From this time until the close of the seventeenth century a true French faience was produced extensively at several different factories. One of the earliest styles of ornamentation at Rouen was the painting of arabesque or conventional designs, known as the ''Lambre- quins" and "Embroidery" (broderie) patterns, suggested by the orna- mentation of the embroidered hangings of the period (see Nos. 36 and 39). The former consisted of pendant designs radiating from or toward the centre; the latter of finer lace-like traceries serving as border designs of plates and platters. These decorations, first produced in blue on a white groimd, or in reserved white patterns on a blue ground, were at a later period painted in polychrome. Red and blue were often used in combination. Coats of arms and monograms frequently figured as central ornaments. Another distinctive style which originated at Rouen, and was after- ward copied extensively by other factories, was the employment of a quiver or a cornucopia (a la carne) as the principal decorative motive. At a still later period the Strasbourg style, in which brilliantly coloured flowers were painted over the enamel, was closely imitated. In the TrumbuU-Prime collection, at Princeton, N. J., is a beer mug of Rouen faience decorated in polychrome (see No. 37). It is marked with the letter A, in blue beneath the glaze. The Rouen faience was the most original in its decorative features of 9II the French wares of this class, being characterised by accuracy of Tin EiJAMEii.ED Plattebs (llj lolM inches in lenglh). 38. Strasbourg. France. Polychrome Decoration, by Hannong. 39. School of Rouen, Efrance. Polychrome Decoration. Quivfr Patl. 40. SchoolofMousliera, Franc*. Green Decoration, Purple Outline Einhteenlh Centurj'. 27 drawing, elegance of modelling and richness of colouring. Many of the best Lambrequins, Embroidery and Heraldic patterns have been recently copied at the Gien factory, where, however, a transparent glaze is used instead of the opaque stanniferous enamel. To the Rouen school belong the wares of Lille, Sinceny, Quimper and St. Cloud. These were either servile imitations or modifications of Rouen styles. In the collection of Mrs. John Harrison are an oblong platter and circular plate of Quimper faience, with coats of arms ni relief and openwork borders, in dull blue and yellow on a grayish enamel 3. MOUSTIERS. The manufacture of enamelled faience began at Moustiers about 1680, and continued through the following century. Pierre Cl^rissy was the earliest faiencier at this place. Olerys established a pottery here about 1738 with whom was associated his father-in-law, Laugier, and to him is credited the grotesque style of decoration, as well as that with minute figures of men and animals and wreaths and garlands of small flowers, usually painted in purple, green or orange camaieu. At a later period polychrome decoration was employed. His mark consisted of the monogram OL (Olerys-Laugier). A platter with green omamenta tion, outlined with purple, of the Moustiers school, is in the Museum collection (No. 40). A fine example of Olerys' work, the gift of Mr. John T. Morris, is a large dish with scalloped edge, 14} inches in diam- eter, with central figure design and border in the lambrequins style, care- fully painted in brownish yellow, light blue, sage green and pale purple, which bears the monogram POL, pencilled in yellow (No. 41). The principal features of Moustiers faience are a white enamel of great depth and brilliancy, underglaze decorations in blue, or in poly- chrome, in which is sometimes found an inferior, opaque red. A characteristic of one variety of this ware is the combination of brownish yellow and light green. The decoration is frequently suggestive of the Rouen school. Among the manufactories which copied the Moustiers styles were those of Clermont-Ferrand, Varages, Ardus and Montauban. SECOND PERIOD. Decorations painted on the baked enamel (PeitUure sur Email CuU)^ and often heightened with gold. 28 4. STRASBOURG. The Hannong family established the manufacture of tin-enamelled faience at Strasbourg soon after 1720. Paul Hannong a few years later effected great improvements in faience painting. The decorations were carefully executed over the enamel and, being fired in the reverberatory kiln, requiring less heat than inglaze painting, a greater variety of colours resulted, including, among others, delicate pinks, reds and purples. Gold was first introduced in the decorations of stanniferous faience by Paul Hannong. The manufacture continued until about 1780, the best period being from about 1740 to 1760. The principal characteristics of Strasbourg faience are good modelling., lightness of weight, smooth, milky white or cream-coloured enamel, with decorations in brilliant colours, which are usually flat and do not stand out from the surface. One of the most striking peculiarities of this ware is the outlining of the decorations with fine black hair lines. Plates and platters with openwork borders were made here. In the Museum collection are numerous plates, a platter with open- work border and a fine soup tureen with modelled lid and feet (see Nos. 38 and 42). The Hannong mark was the letter H with a dot above it, and frequently a pattern number beneath. The mark of Paul Hannong consisted of the initiak P. H. That of Joseph Hannong of the letters J. H. Strasbourg was the principal faience manufacturing centre of this period. In 1871 it became a part of the German Empire. To the School of Strasbourg belong the wares of Marseilles, NiderviUer, L\m6dlle, St. Cldment, Sceaux, Aprey and the majority of the smaller factories, or all of those using overglaze colours and gold in the decor- ations. The factory at Aprey was established about 1750. Jarry was the principal decorator. His overglaze paintings of birds with brilliant plumage are well known. MARSEILLES. Stanniferous faience was made here in the latter part of the seventeenth century, and the manufacture continued through the greater part of the eighteenth. In 1750 there were at least ten factories in operation at this place. Among the best artists was Honor^ Savy. He painted his designs over the enamel, the colours usually standing out in slight relief, as may Tin Enahellfd Tubeen (13 incho iQ length). PoLjchrome Decoratioo. by H0> Urbino. Mark of Nicola da Urbino. GtTBBio. Mark of Maestro Giorgio Andreoii. 4^!S^lB^ GtTBBio. Mark of Maestro Giorgio Andreoii. O^ GuBBio. Mark of Maestro Giorgio Andreoii. c. 1525. Caffagiolo. _^ Savona. From the Arms of the Town. On a plate in H| the Trumbnll-Prime collection, painted with figure scene in .blue camaieu. Genoa. Tower and Beacon Mark. On a dish in the Museum collection, painted in blue underglaze (No. s). Genoa. On a plate in the Museum collection, painted with figure scene in blue camaieu. 39 in MVH 3 IB HOLLAND DELFT. "The Porcelain Hatchet" ^Factory. Three dif- ferent marks of Justus Brouwer, c. 1760. On two dishes with blue Hawthorn decoration in Chinese style, in the Museiun collection (see No. 17). "The Golden Flowerpot" (De ver guide Blom- pot). Pieter van der Stroom, c. 1693. Mark of the same, on covered cheese dish with modelled goose or swan on cover, polychrome decoration, in the Museiun collection (see No. 18). "The Three Bells" Factory. Mark of W. van der Does, c. 1764. On large plate or plaque, polychrome decoration, in the Museum collection (see No. 21). Variation of the above mark. Amsterdam. Mark of Hartog Van Laim and Brandeis. Factory established about 1780 and operated for about five years. On a tr^y or dish with hunting scene, in blue, in the Museum col- lection (see No. 23). "The Three Cinder Tubs" Factory. Mark of Hendrick van Hoom, c. 1759. On two circular dishes with lids modelled in the form of eels, blue, red, and yellow, in the Museum collection. "The Star" Factory. Mark of Justus de Berg, c. 1760. On a covered box, decorated in blue, in the Museum collection (see No. 24). "The Double Jug" Factory. Mark of Lowy» Fictoor, c. 1690. On a large covered box, decor- ated in blue, in the Museum collection (see N0.2 5). The same mark was used on similar ware, about the same time, by Lambertus Eenhoom. 40 FRENCH FAIENCE. Lille. The monogram of Francois Boussemaert, a director of the factory. Sometimes this mark was used in conjunction with the name of the town, written out in full. Lille. A Variation of the above. SmcENY. Abbreviation of the name of the town. •5C* SmcENY. Initial of the name of the town. s MousTiERS. Monogram of 01er3rs-Laugier, proprie- tors of the factory. On large dish in Museum collection (see No. 41). MousTiERS. Same Mark with initial of decorator. MousTiEES. Same Mark with initial of decoration. .• ^ Strasbourg. Two variations of the mark of Hannong. M f\, T^ second is probably that of Joseph Hannong. 9i Strasbourg. Monogram of Paul Hannong. ▲ Marseilles. Fleur-de-lis mark used by Honors jK Savy. On txireen in Museum collection (see No. 43). Ji ^TZ Marseilles. Monograms of J. Robert. Marseilles. Monogram of Veuve Perrin (the widow \J^ Perrin), in black, purple, etc. over the glaze. On Ir a plate in the Museum collection. X f H 41 FRENCH FAIENCE. NiDERViLLER. Moiiogram composed of the combined initial letters of the names of Baron de Beyerl^ and the town. After 1754. NiDERViLLER. Monogram of the Count de Custine. After 1774. NiDERviLLER. Same mark with coronet. This should not be confused with a somewhat similar mark used on Ludwigsburg or Kronenburg porcelain. NiDERViLLEK. The interlaced C's were sometimes used with the initial of the name of the town. ScEAUX. The anchor of the Grand Admiral of France, the Duke of Penthibvre. .SCEAUX. ScEAUX. The name painted in full, after 1772. 3P ScEAUX. Initials of "Sceaux" and "Penthiivre," com- 4* bined with the anchor. RV' ScEAUX. Abbreviation of the name of the place, 1753-1760. Saint- Amanivles-Eaux. The monogram of Pierre Fau- * quez. Saint-Amand. Variation of preceding mark. Saint Ouer. KQuiHPER. The monogram of Ia Hubeaudi^re, director of the works in 1782. Aprey. Abbreviation of the name. Sometimes this mark A was used in combination with the initials of decorators, J., P., v., G., etc. J-Rf Saiir:Kr 42 GERMAN FAIENCE. Bayreuth. Combined initials of the name of the place and that of the director of the factory, Kndller (1720-1745). Bayreuth. Initials of the town and the director of the works, Joh. Georg Pfeiffer (1747). On a mug in the Museum collection (see No. 46). Bayreuth. Initial of the town and those of Frankel and Schreck, managers of the factory from 1745 to 1747- Bayreuth. Abbreviation of the name of the town and initial of Kndller. Nuremberg. The initial of Georg Friedrich Kor- denbusch, a director of the factory. On several plates in the Museum collection, in medium blue, under the glaze. Nuremberg. Initials of Georg Kordenbusch. Nuremberg. Initials of the town above that of Kordenbusch. Kellinghusen. Initials of the town and that of Moller, a decorator. Kellinghusen. Initials of the town and those of Dr. Grauer, a decorator. Frankenthal. Monogram of Paul Hannong, above the initial letter of the name of the town. Sometimes a monogram composed of the letters C. T. in written capitals (Carl Theodor, a patron of the factory) is found on Frankenthal faience, either alone, or surmoimted by a crown. jCy\ HdCHST. The wheel is found alone, or accompanied fTCJf by the initials of a decorator. It is sometimes ^Ji^ surmounted by a crown, and is usually painted in blue beneath the glaze. t^S^ \Xs\U 43 SWEDISH FAIENCE. Stockholm. Name of the city abbreviated, with date of fabrication (June i6, 1759), in blue, often accompanied by the initial of the name of the decorator. On a plate with bianco- sopra-bianco border in the Museum collection (see No. 49). RdRSTRAND. Mark in blue or purple. The date is March 4, 1770. Maiueberg. Mark of the three crowns of the arms of Sweden, in blue, often accompanied by the initial letter of the decorator. On two modelled boxes in the Museum collection (see Nos. 50 and 51). Masieberg. The date is Nov. 15, 1768. Marieberg. The date is March 7, 1771. On a vase in the Museum collection. *J?7^ Stralsund. Mark in purple on a large vase >fL with relief decoration, in the Museum col- i^J^ MU^iO0 lection. The date is Jan. 23, 1769. Stralsund. The three lines are supposed to represent the ermine of Bretagne, surmoimted by the crown, from the arms of the town, with 'T the letter E, the initial letter of d' Ehrenreich, jT^^m^ £ director of the factory. Beneath is the date r ^ Z^'O iCQ (J^y 20, 1768). Sometimes the initials of ^ the decorators are added. 44 DENMARK, BELGIUM AND HUNGARY. Xi^ y Kiel. Name of the place of manufacture in full, and the ifji initial of the name of Taennich, director of the factory c. 1765. Mark in purple on a small cream jug in the Museum collection (see No. 53). i • -? Hi Kiel. Same mark, abbreviated. Kiel. Same, abbreviated. Initial of Buchwald, director of the factory. Luxembourg. Initials of the town and the manufacturers, Boch Brothers. ._• Holitsch. The initial of the name of the place. On a JJ^ plate in the Museum collection (see No. 56). • HdurscH. The mark is sometimes accompanied by an- ]pj[ j[ other letter, probably the initial of the decorator. On a plate in the Museum collection (see No. 57). "LXP Holitsch. Mark given by Gamier. Holitsch. Mark on a plate in possession of Mrs. John Harrison, Philadelphia, Pa. 46 RECAi>rrDiAnoN of Psincipal Q M Q CoUMTRISt. Italy Sfajn, Mexico , Holland , England , Franck Nereri Rouen Mouttien Strasbourg Marseilles . Nidenriller Sceaux . . . St. Amand . Gxrmant SWKDXN, DXNBIARK Belgium HUNGAKT } Body. Medium softness. Medium hardness and pinkish tint. Enamel. Soft, easily cut with knife. Harder, less easily scratched with point; pinkish tint where enamel i» thin. Medium softness (excepting Nevers, which is harder). White; the Italian ware covered with a thin coating of lead glaze; frequently with metallic lustre. Heavy, irrrgular; no lead glaze. White or tinted; no lead glaze. White; thin coating of lead ^aze. White or tinted; no lead glaze. 47 Features of Tin Enamelled Pottery. Decoration. Incorporated in the enamel (un- derglaze). Blue, yellow and green predominating. Cruddy painted in raised blue or polychrome. Incorporated in the enamel (un- derglaze). Polychrome paint-, ings, sometimes with gold. Blue predominating. Painted between the fired enamel and lead glaze, or transfer printed. Blue predominating. Bristol often with bianco-sopra- bianco traceries. Shapes. Italian and Persian styles. In- corporated in the enamel (\m- derglaze). No red. Lambrequins, armorial, cornuco- pia and quiyer. Incorporated in the enamel (underglaze). Blue and red predominating. Minute figures, grotesque style, in camaieu and polyclux>nie. In- corporated in the enamel (un- derglaze). Polychrome paintings, frequently with fine black outlines, occa- sionally gold on the enamel (overglaze). Colours in slight relief en the en- amel. Imitation of wood-graining, etc. Cupids and flowers, painted on the enamel, often with gold. Bianco-sopra-bianco or ra i s e d white traceries. Purple and blue predominating. Frequently mottled grounds. Purple predominating. Relief flowers and figures. Swedish style. Dark blue ground. Painted and printed panels. Sprays of flow- ers on white. Solid yellow ground, reserved med^dlions, often in Marseilles style. Drug jars, Tases, plates, plaques, salt cellars, etc. Similar to above. Covered jars, vases, tiles, dishes, figures, etc. Caudle urns, posset pots puzzle mugs, plates, punch bowls, tiles, etc. Masks. Names of Fabriques crudely painted with brush; arbi- trary signs, monograms and dates. Frequently unmarked. Unmarked. Tureens, vases, plates, plat- ters, figures, etc.; modelled feet, handles and lids. Initials and names of makers; qrmbols of facto- ries; often unmarked. Rarely marked. Names and initials makers and factories. of Tureens, mugs, wine jugs, plates, plaques,figures, etc. Vases, plates, figures, jugs, etc. Milk jugs, etc. Mugs, etc. Plates, dishes, trays. Names and initials of makers and factories. Names or initials of facto- ries and dates. Name of place and initials of painters. Names of place and makers. Initials; H in combination with other letters. INDEX. a la come decoration, 34, a6 Amorini, 9 Amsterdam, 19 Andreoli, Giorgio, xo Aprey, 28, 36 Apt, 31 Ardus, 27 a reverbero lustre, 10 Auzerre, 36 Bayreuth, 31 Beacon mark, 11 Belgium, 35 Bell Pottery, Virginia, 37 Bellevue, 31 Beyerle, Baron de, 39 Biblical scenes, 7, 9, 33 Boch Brothers, 35 Bordeaux, 31 Boston Museum, i3 Braunschweig, 32 Brislington, 23 Bristol, 21, 22 Bristol glass, 21 Broderie pattern, 24, 26 Brouwer, Justus, 19 Buchwald, Jean, 35 Burton, WiUiam, 33 Caffagiolo, 10 Caudle urns, 20, 21 Camaieu, 24 Cangiante lustre, xo Carr, James, 36 Cassel, 32 Castel Durante, 9 Castelli, 12 C16rissy, Pierre, 27 Clermont-Ferrand, 27 Coperta, 6 Come, a la, 24, 26 Cornucopia pattern, 24, 26 Custine, Count de, 29 Cyffl^, Paul Louis, 30 De Beig, Justus, 19 Decoration, a la come, 24, 26 bryony leaves, 13 Decoration! camaieu, 34 cornucopia, 34, 36 gilding, 13, 13, 37, 30 green scars on back, 39, 33 ffrisaille, 34 heraldic, 37 istoriato, 7, 9, xo outlined in black, 38 patriotique, 34,36 Persian, 35 quiver, 25, 26 raised enamel, x6 raised painting, a8 Delft, 17-23 Delft, Black, 18 Denmark, 35 Dijon, 26 Diruta, ix Dutch potters, X7-X9 EckemfOrde, 32 Edkins, Michael, 3x Eenhoom, Lambertus van, x8 Enamel defined, 5 England, 30-33 £s^ Institute, Salem, Mass., 33 Fabrica de Sto. Antonio, X4 Faenza, 8, 9, 25 Faience Patriotique, 24,26 Fictoor, Lowys, 18, 19 Forms of maiolica vessels, 6, 7 France, 23 Franked and Schreck, 32 Frankenthal, 32 Frankfurt-am-Main, 32 Fulda, 32 Genoa, xx Germany, 3X-33 Gien, 27 Gilding, 23, 37, 29, 33 Glass, Bristol, 3x Glaze defined, 5 Grauer, Dr., 32 Grisaille, 24 Gubbio. [O 50 Gubbio lustres, xo, ii Hanau, 3a Hannong, 28 Heraldic patterns, 27 Hispano-Moresque ware, 5, 13 HOchst, 33 HOlitsch, 36 Holland, 17-19 Hungary, 36 Istoiiato style, 7, 9, 10 Italy, 8-ia Kellinghusen, 3a Kiel, 35 KnOUer, 32 Kordenbusch, Geoig Friedrich, 3a Kunersberg, 3a La Forest, 26 Lambeth, ai Lambrequins style, 24, a6 La Rochelle, 31 Laugier, 2^ Leiluimer, Abraham, 35 Lemire, Charles, 39 Lille, a 7 Liverpool, aa Luca della Robbia, 6 Lun^ville, aS, 30 Lustre, a reverbero, 10 cangiante, 10 Gubbio. io» II madreperla, 10, 11 rubino, 10 Lustres, 6, 10, i a Luxembourg, 35 Madreperla lustre, 10, 11 Maestro Giorgio, 10 Maiolica defined, 5, 6 Majorca, 6 Malaga, 13, 14 Marieberg, 34 Marseilles, 28, 36 Marzacotto, 6, 24, Mayer Pottery, Trenton, 36 MeUlonas, 26 Mexico, 14-17 Mezza-Maiolica defined, 12 MOUer, decorator, 32 Montauban, 27 Montpellier, 31, 36 Moustiers, 27 Moustiers, School of, 25, 27 Mtinden, 33 Nevers, 25 Nevers, School of, 25 New York City Pottery, 36 Niderviller, 29, 30 Nimes, 31 Nove, I a Numbeig, 3a Olerys, 2^ Olerys-Laugier, 37 O. L., monogram, 37 Paris, 31 Persian style, 35 Perrin, Veuve, 39 Pesaro, 11 Pfeiffer, Joh. Geoig, 33 Phcenixville, Pa., Pottery, 37 P. O. L., monogram, 37 Portugal, 14 Posset pots, 30, 33 Princeton Museum, 36, 35 Processes, 6 Puebla, Mexico, 14 Puzzle jugs, ao, as Quimper, 27 Quiver pattern, 35, 36 Rendsburg, 33 Rennes, 31 Reygensbexgh, Augustein, 18 Robert, J. Gaspara, 39 ROrstrand, 33 Rouen, 36, 37 Rouen, School of, 35 Rubino lustre, 10 Saint-Amand-les-Eaux, 33, 3t Savona, 11 Savy, Honor^, 38 Samadet, 31 Sauvage, Charles, 39 Sceaux, 30 Schleswig, 33 Schreck and Fr&nkel, 33 Sinceny, 37 Solon, M. L., 36 Spain, 13, 14 Speaking_pottery, 36 S. P. Q. F., II S. P. Q. R., 9, 10 Staffordshire, 33 Stanniferous faience defined, 5, St. Clement, 30 St. Cloud, 27 St. Omer, 31 Sto. Antonio, 14 Stockelsdorff, 33 61 Stockholm, 33 Stralsund, 34 Strasburg, Va., 37 Strasbouig, 28 Strasboura, School of, 35 Styles of French faience, 24 Styles of maiolica decoration, 7 Sweden, 33, 34 Taennich, 35 Talavera, 13, 14 Talavera ware, 14-17 Tin mines of Mexico, 16 Tower and beacon mark, 11 Trumbull-Prime collection, 26, 35 United States, 36 Urbino, 9, 10, 25 Valencia, 13, 14 Van der Does, W., 19 Van der Stroom, P., 19 Van Eenhoom, 18 Van Laun, Hartog, 19 Varages, 27 Ventosa, Senor Enrico, 15 V. P., monogram, 29 Wadsworth Athenaeum, Hartford, Ct. 22 Wincanton, 22. 23 This book should be returned to the Library on or before the last date stamped below. A fine is incurred by retaining it beyond the specified time. Please return promptly. JU(i3 '77 Q 3 2044 034 908 889 Arc 19';i.?0,l^pp Barber^ E.A. Tin enanwana^ ^^ '"'^ — r:?i-s^r?-^ JBC J.9i3.29-t5B